Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Montenegro and from Accra.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1976.
I'm losing my edge.
To all the kids in Halifax and Lyon.
I'm losing my edge to the art-school Houston kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Lou Reed to the grime kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Crash Course in Science. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every The Smoke record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Sun City Girls,
Be Bop Deluxe,
Livin' Joy,
Davy DMX,
Agitation Free,
Patti Smith,
Crispian St. Peters,
Chris Corsano,
Sly & The Family Stone,
Oblivians,
The Young Rascals,
Chris & Cosey,
Mad Mike,
The West Coast Pop Art Experimental Band,
Manfred Mann's Earth Band,
Ash Ra Tempel,
F. McDonald,
Rhythm & Sound,
Ronnie Foster,
Letta Mbulu,
Neil Young,
Funkadelic,
the Germs,
The Cowsills,
Bang On A Can,
The Moody Blues,
Neu!,
Kango’s Stein Massive,
R.M.O.,
the Swans,
Althea and Donna,
Piero Umiliani,
Pete Rock & C.L. Smooth,
Erykah Badu,
New York Dolls,
PIL,
Arab on Radar,
Cecil Taylor,
Mantronix,
Boogie Down Productions,
Robert Wyatt,
Donald Byrd,
Strawberry Alarm Clock,
John Cale,
Oppenheimer Analysis,
Kevin Saunderson,
Pylon,
Blancmange,
Blossom Toes,
Ultravox,
The Blackbyrds,
Moby Grape,
Sun Ra Arkestra,
Audionom,
Banda Bassotti,
Eddi Front,
Silicon Teens,
Section 25, Section 25, Section 25, Section 25.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.